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Berlin is playing host to a large number of art exhibitions and fairs, featuring work by Jeff Koons and Paul Klee as well as a slew of international artists from India to Mexico, South Africa to Romania.
The Art Forum in Berlin is one of Germany's most significant fairs for contemporary art
At the Mies van der Rohe-designed New National Gallery, US contemporary artist Koons is parading a glittering array of huge sculptures and paintings.
Paul Klee's highly individual works are on display in Berlin
On a lower floor is a selection of work by the late German expressionist painter Paul Klee, garnered from both private and international collections.
Simultaneously, the 13th Art Forum -- Berlin's International Fair for Contemporary Art -- opens at the city's Funkturm trade fair grounds.
It brings together 127 galleries from 26 countries, and around 2,000 artists from across Europe, as well as from Russia, India, South Africa, the USA and Central America.
Solo exhibition by promising Indian artist
Mumbai-based artist Riyas Komu, seen as one of the most promising contemporary Indian artists, is meanwhile exhibiting at the Bodhi Gallery in his first German solo exhibition of sculptures and paintings.
One of 37-year-old Komu's sculptural installations titled "Watching the other world spirits from the gardens of Babylon" is seen as a take on the US invasion of Iraq with its immediate physical and traumatic impact on the individual and his or her surroundings.
Wagon-like constructions, carved from used wood and detailed with skull and brain depictions refer, he says, "to the origin of all militaristic methods of destruction, namely mankind."
Komu is often described as a champion of the underdog with his sculptures and paintings questioning what people hide behind the masks of their faces. He employs a dozen workers in Mumbai who all come from the village where he used to live.
"It is interesting to introduce traditional craft into my work. Such craft used to be used only for decorative or luxurious purposes, whereas I use it in an entirely different context," Komu said.
Berlin contemporary art fair kicks off
The director of the 2008 Berlin Art Forum is Sabrina van der Ley, who shortly will become curator of contemporary art at the Kunsthalle (Art Hall) in Hamburg.
"Since the Art Forum began in Berlin in 1996 it's grown into the biggest art fair in Germany, which was what everybody was hoping for," she told DPA. "In those 13 years it has also become the most important art market place in Germany, especially for contemporary art," she says.
A work by Jaroslaw Flicinski at the Art Forum
This year's Art Forum sees more than half the exhibitors coming from abroad. But Berlin is well represented with 28 galleries, say the organizers, who promise "exciting new encounters" with exhibitors from Spain, Austria, Russia, India and, for the first time, South Africa.
The Nordic Countries are well-represented as are the Benelux countries. Thirty-one galleries are first-time participants in Berlin.
Three years ago Mihai Pop and Adrian Ghenie founded the artist-run gallery "Plan B" aimed at an international audience in Cluj, the largest city in the Romanian province of Transylvania.
Now after organizing last year's Romanian Pavilion at the Venice Biennale, they are in Berlin to show the work of six artists operating in different media. Among them is David Nuur, who attracts attention with subtle thought-provoking sculptures.
Increasingly global art world
Twice daily, international experts will hold talks at the Art Forum on the increasingly global art world.
Mexico's Nino Monocal presents a solo exhibition of paintings by the multi-facetted and emerging artist Duvier del Dago in Berlin, and Berlin-Beijing gallery owner Alexander Ochs displays sculptures and paintings by outstanding Chinese artists.
"Game Bird Group," an installation by Mark Dion at the Art Forum
Yin Xiuzhen's "Bras" (20,000 euros) and Yang Shaobin's "My Left Leg" (230,000 euros), earlier displayed at the Shanghai Art Biennale, are to be seen at the Art Forum.
The Korean painter Sun Young Byun's "The House in the Painting, The Painting in the House" is also shown alongside the star Chinese artist works. The Art Forum runs until November 3.
German funding for the arts comes mainly from public spending, unlike the United States, where Wall Street's woes cut into wealthy patrons' pockets. But corporate sponsorships are catching on in Germany. (20.10.2008)
Jewish-owned art seized by the Nazis from 1933 onwards is featured at a new exhibition at the Jewish Museum in Berlin. Meanwhile, Germany's culture minister has called for the "fair" return of Jewish art. (19.09.2008)


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Songs of the beach, dances that move,
Songs without words in a rock & roll groove!
Summertime songs, summertime fun
The days not over 'til the lullaby's done....
Once again this Summer we will be staggering our start dates to maximize the options for attendance. Away on vacation for 2 weeks? No problem, we allow unlimited "make-up" classes over the summer session.
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Our classes follow the lead of the public schools; if Natick/Boston schools are closed due to weather, we will also cancel. For weekend or afternoon classes, if we were to close, this site would have a cancellation notice prominently displayed on the home page. So always check your email or this page before leaving the house.
"Like Us" for a chance to win one of several fun prizes like this drum!

subset: commoncrawl


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main menu
main menu
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I hope you will enjoy browsing our pages and finding out more about us.
Mrs Gabrielle Solti
Head of Junior School


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Here you can find out a little more about us.
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Thank you for visiting our web site. As part of our professional service to
you, we are committed to respecting your privacy.
This privacy policy
("Privacy Policy") is
based on the federal Personal Information
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At first you have to meet with photographer in personal.
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It's a fitting coincidence: As leaders of this state's two largest cities call for increasing exports, Kentucky is moving to preserve the international market for the American Thoroughbred industry which is clustered in the Bluegrass.
Both sides in the flap over the widespread use of an anti-bleeding drug in race horses have valid points. Stripped down to essentials, though, the conflict is between short-term concerns and a long-term vision for the sport of kings.
The long-term view won out, though not in any radical or precipitous way: A phaseout of the race-day use of furosemide, better known as Lasix or Salix, in upper-level stakes races beginning in 2014 won't put Kentucky tracks at an immediate competitive disadvantage.
(Or, we should say, another disadvantage; they're already hugely challenged trying to compete with casino-swollen purses in New York.)
By becoming the first to approve a partial ban on the drug, the Kentucky Horse Racing Commission will help push the rest of U.S. racing into the international mainstream.
The U.S. and Canada are the only countries that allow furosemide on race days.
More than 90 percent of horses in U.S. races are on the drug. Its prevalence is raising concerns that a tendency to bleed is spreading in the American gene pool. Because of this, international buyers are more sceptical of U.S. bloodlines. If the perception devalues U.S. Thoroughbreds in the international market, Kentucky's economy will suffer.
A more fundamental concern about the future of racing is at play, as well. To survive, much less prosper, racing will have to assure the public that its equine competitors are healthy and well treated.
The science on pulmonary hemorrhage in horses is complicated and confusing; it's unclear why there appears to have been an increase in "bleeders" over time.
Lots of humans use Lasix; it's not a scary drug, like, say, the cobra venom that's sometimes given in hopes of improving a racehorse's performance.
But let's imagine a young person who likes animals and/or sports and has or will have disposable income — in other words, a potential racing fan. This person hears that if racehorses aren't medicated they bleed from their lungs. To the uninitiated, it sounds like something Uday Hussein would have done to spur on Iraqi Olympians: dope 'em so they can run 'til they bleed.
That's a sensationalized description, but the point is fair: Racing's image will take a beating as long as it depends so heavily on medicating horses.
The arguments over therapeutic drugs vs. doping are likely lost on the average person, especially when there is a concerted effort in some quarters to portray racing as cruel, while some trainers and owners, hungry for casino-engorged purses, seem determined to prove it.
Finally, here is the most important lesson from Kentucky's commission narrowly making the right decision about Lasix. Individual states will always be reluctant to risk getting out front on any change, no matter how good it might be for the industry long-term.
U.S. racing needs a central governing authority.


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Homelessness Prevention Program
This program is run by The Salvation Army and funded by The Regional Municipality of York and the Provincial Government.
Our goal is to aid in the prevention of homelessness for York Region residents by providing financial assistance to:
- Those who are at risk of losing their home or place of shelter
- Individuals who are homeless or living in a temporary shelter
Do You Qualify?
- Are you a resident of York Region? and…
- Have you tried every other option available to change/solve the situation or problem? and…
- Are you in a financial crisis, not receiving Ontario Works or Ontario Disability Support Program funding, but have an income from other sources?
- Are you under the threat of eviction and/or utility disconnection/arrears?
- Are you homeless?
- Are you living in a temporary shelter?
If you feel that you qualify, you will need to arrange to obtain the following items once you've called for an appointment:
- 2 pieces of proper photo ID for yourself and all family members (i.e. birth certificates, health cards)
- Letter from your employer on company letterhead stating: history of employment, hourly wage and weekly hours
- One month's most recent pay cheque stub
- Proof of rent or mortgage paid
- Eviction notice(s) and/or "N4", formal document which specifies that you have already been through a tribunal hearing if served
- If renting, proof of rental history for one year
- Rental Agreement or Lease
- Landlord's full name, address and telephone number
- All bills/notifications including credit cards, utilities, medical, loans, etc.
- Proof of any and all sources of income (i.e. child support, unemployment benefits)
- Updated bankbook(s) and/or statements
- Any other expenses (monthly or outstanding)


text:
Posted by Nathan on December 11, 2001 at 19:44:13:
In Reply to: Read This If You Need Extra Cash$$$ posted by Shikaku Namja on December 11, 2001 at 04:31:31:
Spam anyone? I smell a truck load! WTF?
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Aspiring Roadie
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text:
Polyester Lithuania Flag
We are proud to offer this Polyester Lithuania Flag. Three equal horizontal bands of yellow (top), green, and red; yellow symbolizes golden fields, as well as the sun, light, and goodness; green represents the forests of the countryside, in addition to nature, freedom, and hope; red stands for courage and the blood spilled in defense of the homeland.
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Or, if you're looking for something of the smaller variety you can find it with our Handheld Lithuania Flags


text:
At the height of the trial in the cinematic court room drama The Verdict, a nurse acting as witness for the plaintiff offers as evidence a photocopy of a hospital admission form showing that the victim of the alleged medical malpractice was known to have eaten just one hour earlier and so should not have been anaesthetized (Lumet 1982). Yet she was anaesthetized, which made her vomit into her face mask, causing brain damage from lack of oxygen. The original admission form shown to the court recorded that the victim ate nine hours earlier (and so could be anaesthetized), but the nurse claimed that she photocopied the form before the anaesthetist (realizing his error) forced her to change the numeral 1 to a 9. On an established legal preference for original documents over photocopies, the jury is instructed to forget it ever heard about the nurse and her photocopy. Happily, the jury ignores this instruction and awards damages against the hospital.
The principle that one should ordinarily prefer an original of something over its copy is central to much of our thinking about textual authenticity, although of course there are circumstances under which it should be set aside, as when one suspects that the original was altered after the copy was taken. If the original was altered, one has to ask why and make a judgement based on one's best attempt at an answer. Originals should normally be preferred to copies because copying introduces errors, some random and some predictable. We may leave aside for the moment the new technologies that allow digital copying with perfect bit-for-bit fidelity, since these at the very least blur our convenient distinction between original and copy and perhaps even undermine our notions of what constitutes property.
The means by which early modern books were reprinted made errors of transmission inevitable. For many early modern books, the second edition was a reprint of the first and the third a reprint of the second, so that errors accumulated rather as they do in the children's game that Britons call Chinese Whispers and Americans call Telephone. When the first collected edition of the plays of Shakespeare, the First Folio (F or F1) of 1623, was reprinted in 1632 (F2), 1663–4 (F3) and 1685 (F4), each edition was based on its immediate predecessor, and error was piled upon error. These reprints' publishers and printers attempted to restore sense where they could, as indeed players in a circle of Chinese Whispers do: almost unconsciously players turn the whispered sounds into words that cohere to make at least grammatical sense. But just as in the children's game, without access to the original words these attempts at improvement are overwhelmed by the corruption. The fun arises when the resulting words are grammatically plausible but wildly and comically inaccurate.
That such degeneration-by-repetition is also true of the later Folios of Shakespeare was observed by Samuel Johnson in the middle of the eighteenth century and he decried his fellow editors' complacency in basing their editions on later Folios rather than returning to the First, the ultimate source (Shakespeare 1765, l). And yet, describing this seemingly sensible complaint from Johnson, one of today's leading theorists of textual transmission sees a darker motive at work:
Werstine implies that it is not awareness of the Chinese Whispers problem that motivates modern editorial preference for the First Folio over its reprints, but rather the delusion that the best early editions bring one fully into the presence of the author. Werstine rightly points out that Johnson did not scrupulously abide by his own counsel of perfection (he used reprints like everyone else) but in revealing this failing Werstine seems to abandon the central principle that Johnson was sketching. Werstine accuses Stanley Wells and Gary Taylor of following Johnson's precept for the wrong reason: not because it minimizes error but because it helps us commune with the dead.
Because the twentieth century's dominant textual theory raises up the ideal of recovering in an edition the full authorial presence that is now believed to lie just behind some of the earliest printed texts, the eighteenth-century preference for an edition that has benefited from cumulative editorial attentions (each removing us further from the earliest printings) has been slighted by our century's textual theorists (e.g., Wells, Taylor, et al. 55).(Werstine 1995, 257).
The purpose of this book
The story of how modern textual theorists have come to hold such divergent views about the same raw materials and processes is one of the central narratives of this book. It aims to trace the debates about Shakespeare's texts as they have developed in the past century or so since the emergence of what is known as the New Bibliography. It presents a history of a set of ideas, but not impartially, for it argues that authors are the most dominant agents in the constellation of forces (personal, cultural, political and institutional) that come together in the publication of books. This does not mean that the author is sovereign, autonomous, or splendidly isolated, those being notions of authorship that modern literary theory tells us were invented by the Romantics. (Of course the theory might be wrong and the Romantics rather more subtle about authorship than they are usually given credit for; see Pechter 2001.) When it worked properly, publication in Shakespeare's time, just as publication now, invoked a hierarchy of agencies with the author at the top, supported by the labour of copyists and printshop workers. Readers unfamiliar with recent debates about the nature of authorship may be surprised to learn that this assertion is contentious and that making it opens one to a charge of conservatism, even elitism.
This book aims to help push the pendulum back from a currently fashionable dispersal of agency and insist upon authors as the main determinants of what we read. The 'struggle' of the book's title has two senses. The first alludes to the Herculean tasks of scholarship undertaken by bibliographers to extract knowledge from the surviving early editions of Shakespeare, as when Charlton Hinman compared each of the 900 pages in one exemplar of the 1623 Folio with the same page in each of fifty-four other exemplars, looking for the small differences that arose during the printing. By revealing the details of the printing process, Hinman hoped to offer editors better means for determining how it misrepresented what Shakespeare wrote, so they could undo the harm.
A second sense of 'struggle' in this book's title alludes to the arguments between scholars about how far we can hope to undo the harms of reproduction in order to recover what Shakespeare wrote. One branch of modern textual theory, identified in this book as New Textualism, accuses another, older branch, the New Bibliography, of over-optimism about seeing beyond the early editions to the manuscripts from which they were made. The hope that we might get an editorially recovered glimpse of those manuscripts (what Werstine means by 'the full authorial presence') is, according to many recent studies, delusional. According to Randall McLeod, the argument between scholars of editorial theory about how to recover what Shakespeare wrote is itself a constructive act, for it makes the very object that it would pursue. McLeod expressed this as 'The struggle for tne text is the text' (McLeod 1991, 279). (The n in tne was an intentional error made as part of a larger, witty argument about the ineluctability of error.) This book argues that McLeod is mistaken and that editors may reasonably pursue the objectively existing (now lost) readings of Shakespeare's manuscripts: they are not simply inventing readings from their imaginations and their struggle is worthwhile not for itself but for the recovered texts. McLeod generously agreed to the appropriation of his phrase in this book's title, knowing that its argument would oppose his.
A currently popular view is that the early editions were so collectively (rather than individually) constructed and so imperfectly printed that the connection with Shakespeare's authorial intentions is all but lost. If this is the case, we must treat the early editions as social phenomena rather than the products of a single consciousness. In terms of the children's game of Chinese Whispers, this is akin to observing that the sentence emerging at the end of the circle is the collective product of all the whisperers and that, once the game has broken up, asking each participant what she heard will produce as many answers as there were players. To continue with the analogy, a textual optimist would be someone who, undiscouraged by the collective and corruptive process of transmission, attempted to work out the order in which the whisperers sat and so differentiate the more corrupted sentences from the less. Such an optimist would give most credence to the evidence of the first whisperer without necessarily falling into an idealist delusion of perfection; she would be expressing a relative preference for better over worse reproductions.
The subtitle of this book refers to the theory and practice of editing Shakespeare, but the book contains considerably more of the former than of the latter. This is because there simply is more theory than theoretically derived practice to describe, and because a comprehensive history of the facts of Shakespeare publication in the twentieth century already exists (Murphy 2003, 208–60). What remains to be described are the theoretical ideas embodied in the most progressive editions. Although certain editions are discussed in passing as the theories develop, a full account of the relationship of theory to practice is relegated to Appendix 3, with cross-references indicating where in the main text the associated theoretical ideas appear. The reader will find that the editions impinge more noticeably upon the main theoretical narrative towards the end of the story. This happens because for most of the century the theory was so far ahead of the practice as to be virtually out of sight. There was no edition of all of Shakespeare overtly executed according to New Bibliographical principles until John Dover Wilson's New Shakespeare series for Cambridge University Press was completed in 1966, and this edition was far from the New Bibliographical mainstream. Earlier complete works editions were in part shaped by New Bibliography, but none explained its editorial principles to the reader. Particular volumes in the mid-century Arden Shakespeare series showed the influence of New Bibliography, but only Wilson made a sustained effort to re-examine the entire textual situation for the whole canon from the new perspectives. However, theory and practice started to become contemporaneous in the 1980s, when there appeared several new editions formed along highly divergent lines.
The term bibliography derives from the self-reflexive practice of writing about books, although it is most commonly used to mean simply a list of books. The larger, but effectively the more specialist, sense of bibliography discussed in this book has two main varieties. Enumerative bibliography is concerned with establishing lists of books, such as all the works of one writer (perhaps published under various names), or of one centre of writing (say, the mediaeval abbey at Barking), or written about one subject. Analytical bibliography, on the other hand, is concerned with studying and describing books and their linguistic content, and divides into descriptive or physical bibliography (concerned with the book as a made object, including such things as its binding, its paper and the way sheets are folded), historical bibliography (concerned with the contexts for book publishing, such as the operations of various institutions that support it), and textual bibliography, also known as textual criticism, concerned with establishing the correct words of a writer by removing the errors of transmission. The bibliography with which this book is concerned is analytical bibliography in all its forms: descriptive/physical, historical and textual. Clearly, textual bibliography – establishing the words of Shakespeare – is the main concern, but as will become apparent the boundaries between the fields are permeable. Much of the early twentieth-century excitement about recovering Shakespeare's writings arose because the New Bibliographers championed multidisciplinary and interdisciplinary skills that crossed or erased these boundaries in the effort to remove errors of transmission.
Editing Shakespeare up to the end of the nineteenth century
To help make sense of the developments in editorial theory and practice in the twentieth century, the following sketch of the preceding history is offered. In the seventeenth century Shakespeare was not edited in the sense that we mean today. As we shall see, certain editions of Shakespeare (most especially the 1623 Folio) were prepared with considerable care to combine manuscripts and existing print editions, but the textual principles that characterize modern editing had not been developed. (For an argument dissenting from this view, based on the objection that many editor-like interventions were made in seventeenth-century reprintings, see Massai 2007.) As well as the four Folio collections (F1 to F4, each of the last three based on its predecessor), individual plays were printed in the smaller quarto format, typically one-per-volume, and for a given play the successive quartos (whether or not reprinting a predecessor) are abbreviated to Q1, Q2, Q3 and so on. Appendix 2 lists the editions of Shakespeare up to 1623 and who made them. The first collected works of Shakespeare that was edited in anything like the modern fashion was Nicholas Rowe's six-volume edition of 1709. Margreta de Grazia's account of the developments in editorial theory and practice in the eighteenth century, and especially of Edmond Malone's groundbreaking edition of 1790, is highly polemical and brilliantly argued (de Grazia 1991), while the developments in the nineteenth century are handled by Murphy rather more drily and without contentious philosophical assumptions (Murphy 2003, 188–207).
The intellectual development of eighteenth- and nineteenth-century editions can be characterized as an increasing regard for historical context and a willingness to undertake systematic comparison of the early editions to ascertain their relative authority. For the starkest contrast in these matters we may take an early and a late example: Alexander Pope's edition of 1723–5 and the Cambridge–Macmillan edition of 1863–6. In preparation for his editorial work, Pope published a newspaper note asking anyone who had editions of The Tempest, Macbeth, Julius Caesar, Timon of Athens, King John and All is True printed before 1620 to bring them to his publisher's office. As Murphy observed, 'Tonson and Pope might have waited until doomsday for the requested texts to be delivered to them, since all of these plays had ... appeared in print for the first time in the 1623 folio' (Murphy 2003, 64). Convinced that large portions of the early editions were not written by Shakespeare, Pope either cut them entirely or relegated them to the bottom of the page. According to Murphy, the greatest contribution made by Pope's edition was that in reaction to it other editors were determined to tackle the problems more systematically and to seek objective knowledge about print transmission before relying on subjective judgements about dramatic quality (Murphy 2003, 8).
One hundred and forty years later, the Cambridge–Macmillan edition was the first produced by university-employed scholars using an openly expressed bibliographical methodology arrived at after examining afresh the entire textual situation of Shakespeare (Murphy 2003, 202–6). Its editors, W. G. Clark, John Glover and W. Aldis Wright, compared each early printing with the others (a process called collating) in order to establish textual priority (which editions were reprints of which) and used this knowledge to help decide what to put in their edition where the early editions differed. Thus although their edition of Hamlet was mainly based on Q2 of 1604–5, the one they thought had the highest authority in general, they used the Folio text for the line 'O, that this too too solid flesh would melt' (1.2.129). In their collation notes at the foot of the page the Cambridge–Macmillan editors wrote '129. solid] Ff. sallied (Q1) Qq. sullied Anon. conj' (Shakespeare 1866, 16), meaning that in line 129 their reading solid came from the Folios, that the quartos all read sallied (although Q1 differs significantly elsewhere on the same line), and that the reading sullied has been conjectured by persons unknown. This kind of attention to detail was new in the editing of Shakespeare, and the Cambridge–Macmillan editors were explicit about their application of processes that were established and refined for the editing of classical texts in Latin and Greek (Murphy 2003, 203).
The techniques used by the Cambridge–Macmillan editors were first formalized by the German philologist Karl Lachmann (1793–1851) for his edition of the Greek New Testament. Lachmann refined the genealogical process known as recension, in which the comparison of the surviving documents (all textual witnesses to the lost original, the author's manuscript) leads to a pictorial stemma that shows the family-tree relationships between them. The making of stemmata remains common in Shakespearian textual criticism even though it was developed not for printings that followed shortly after composition (as with Shakespeare) but for manuscripts made long after composition. Shakespearian stemmata are complicated in certain cases by the printers' copy being an existing book that was annotated by comparison with an authoritative manuscript before being reprinted, which annotation injected new authority into the genetic line of an otherwise derivative reprint; several of the debates with which we are concerned here arise from this complication. The process of recension allows the editor to determine which of the surviving witnesses is the most authoritative and should be the basis for a modern edition, for which R. B. McKerrow coined the convenient term copy-text (Nashe 1904, xi). Thereafter comes emendation, the correcting of errors in this witness.
The Lachmannian approach stressed recension over emendation and encouraged editors to try to make sense of their copy-text rather than depart from it, and if departing from it was unavoidable then the next-best witness in the family tree should be consulted for its reading. This was essentially the process followed by the Cambridge–Macmillan edition, as they explained:
The Cambridge–Macmillan edition was widely received as the culmination of all possible efforts to recover Shakespeare's true words, and it spawned a single-volume edition, the Globe Shakespeare, that sold nearly a quarter of a million copies and became the standard edition for the purposes of referencing for almost 100 years (Murphy 2003, 175–7). A sense of just how successfully the Cambridge–Macmillan editors conveyed the impression that there was nothing left to be done can be had from Horace Howard Furness's comment in his edition of Love's Labour's Lost:
The basis of all texts of Shakespeare must be that of the earliest Edition of the collected plays, the Folio of 1623 ... This we have mainly adopted, unless there exists an earlier edition in quarto, as is the case in more than one half of the thirty-six plays. When the first Folio is corrupt, we have allowed some authority to the emendations of F2 above subsequent conjecture, and secondarily to F3 and F4; but a reference to our notes will show that the authority even of F2 in correcting is very small. Where we have Quartos of authority, their variations from F1 have been generally accepted, except where they are manifest errors, and where the text of the entire passage seems to be of an inferior recension to that of the Folio.(Shakespeare 1863, xi)
Ever since the appearance, forty years ago, of The Cambridge Edition of SHAKESPEARE, followed by its offspring, The Globe Edition, this whole question of Texts, with their varying degrees of excellence, which had endlessly vexed the Shakespearian world, has gradually subsided, until now it is fairly lulled to a sleep as grateful as it is deep.(Shakespeare 1904b, vi–vii)
Scope and plan of this book
This book is concerned only with Shakespeare's plays and leaves aside his poetry, this being principally his early narrative poems Venus and Adonis and The Rape of Lucrece and his Sonnets. The founders of New Bibliography also worked on other early modern dramatists – R. B. McKerrow edited Thomas Nashe, W. W. Greg edited Christopher Marlowe, Fredson Bowers edited Francis Beaumont and John Fletcher – and its principles were later applied to eighteenth- and nineteenth-century novels and poetry. However, in order to tell a coherent story of how the editing of Shakespeare has been theorized and practised, these additional contexts can only be mentioned in passing; New Bibliography has a larger history than can be told in this book's account of its origins and development. The entire subject of editorial theory and practice is now commonly placed within the even broader context of l'histoire du livre (the history of the book), which emerged as a distinct academic discipline in the middle of the twentieth century and was given its initial shape by the French historians Lucien Febvre and his protégé Henri-Jean Martin. Except where it impinges directly on Shakespeare – as it does tangentially when bibliographers discuss whether they should privilege certain authors or treat all books alike (pp. 84–6 below) – these broader contexts could not be incorporated into this book's narrative without doubling its length.
Confining our attention just to Shakespeare, his poetry is excluded because it was, for good reason, subject to an almost entirely distinct set of editorial principles in the twentieth century. The major advances in Shakespearian editorial theory emerged from knowledge of the practices of the early modern theatre, and in particular the ways that scripts for performance would be copied, divided, licensed, reworked and printed. These processes simply did not apply to the poems, which were written not for public performance but private consumption and although they probably circulated extensively in manuscript copies nonetheless went into print more or less directly from authorial papers. As we shall see towards the end of this book (pp. 215–22), the assumption that plays were written for public performance rather than private reading has been challenged, but the distinction from poems still holds since the most that can be said is that plays were intended for both kinds of consumption while poems were without doubt essentially a private pleasure. Regarding the plays, the claim (first made by the New Bibliographers at the end of the Great War) that they too were printed directly from Shakespeare's papers was controversial and requires extensive consideration.
The main concern of the narrative offered here is the development of a series of arguments about how best to present the plays of Shakespeare to modern readers. To make sense of the arguments requires knowledge of how early modern books were made, and readers without this (or wanting a refresher) will find that Appendix 1 covers the essential technical details. The story begins with a group of scholars who decided in the 1890s that the Cambridge–Macmillan editors had not achieved the best texts possible, and who invented an entirely new set of methodologies for making better ones. This book will consider the debates from the inside, as it were: how they seemed to the people who were making the arguments at the time. With hindsight it is possible to contextualize such debates by considering what else was happening in society, and a certain kind of historiography would read arguments about Shakespeare editions as symptomatic of other, wider conflicts. In such readings, Shakespearians may not even be aware that they are really arguing about human sexuality, or class, or the effects of technological empowerment (Masten 1997b; Loewenstein 1998; DiPietro 2006). Such studies are valuable, but this book pays its subjects the compliment of taking them at their word and it deals with their overt differences of opinion without trying to discern their unconscious motives. This is how most of us wish our own arguments to be taken: literally, not figuratively, nor interpreted psychologically. The book's self-denying ordinance cuts both ways, and there is no attempt to explain in political terms the reaction against New Bibliography in the 1980s, even though some of its critics were effectively pursuing a well-established left-leaning literary criticism by other means. Rather than seeking to explain the textual debates by reference to the debaters' politics, the political underpinnings enter the narrative only when they are explicitly part of the arguments being made, as when various kinds of materialism must be distinguished.
Certain people feature rather less prominently in this narrative than they might have, as a result of the economies of selection. There is a case to be made for a feminist revaluation of the work of Alice Walker, and especially her book Textual Problems of the First Folio (1953) that is not much represented here. The materials for a revaluation exist in the archive of Walker's papers at Royal Holloway, University of London, but in truth she did not have much impact on the actual developments of the New Bibliography and after. Certainly, she had no more effect than John Dover Wilson who likewise is essentially tangential to this narrative except in his collaborations with A. W. Pollard and in his New Shakespeare series for Cambridge University Press. This book will for the most part take as read the facts of Shakespeare's co-authorship with other dramatists of certain plays and will not chart the development of the dawning realizations about this in the second half of the twentieth century, after initial progress was retarded by E. K. Chambers's ill-judged attack upon investigation of the subject (Chambers 1924–5). The facts of the matter are well summarized by Brian Vickers (2002), although their impact on editorial practice is as yet limited, as will be discussed in this book's conclusion.
In order to capture the debates as they developed, the structure of the present narrative is essentially a chronological survey of publications about Shakespearian bibliography with minor unchronological departures as necessary. In a few cases, the significance of a particular work was not registered when it first appeared, only to be discovered years later and built upon, and these works appear in the narrative at their delayed moment of impact. To assist the reader there are forward and backward cross-references in the narrative, so she may remind herself of where a previously discussed subject or argument first made its appearance, or skip forward to the point at which it came to fruition or destruction. The aim is not to account for every study of the textual situation of every play of Shakespeare: readers wanting such a comprehensive survey will find one in the Oxford Complete Works edition's Textual Companion (Wells et al. 1987), which may be supplemented (for works appearing since then) by the 'Shakespeare Editions and Textual Studies' sections of the annual books Shakespeare Survey and The Year's Work in English Studies. Rather, this book aims to trace closely the developments in the lines of thinking, with special attention to new breakthroughs, consolidations of positions, corroborations, disruptions and reversals. As a resting point in a long story, an Intermezzo is provided that breaks the chronological sequence to tell the full story of one strand of the New Bibliography, the theory that memorial reconstruction of their scripts by actors was the origin of certain early editions. Although it impinges upon it at key moments, and was used to buttress its claims, memorial reconstruction is not integral to the New Bibliography and its eighty-year rise and fall is best traced without disruption to the main narrative.
© Cambridge University Press


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If you're one of those people who obsessively checks the candidate filing list at the Cuyahoga BOE site, you'll notice my name on there today or tomorrow for two races – county council District 7, and county executive. ?I have until mid-June to choose between the two!
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text: Statistical Simulation Author : Todd C. Headrick ISBN : 1420064916 Genre : Mathematics File Size : 52.30 MB Format : PDF, ePub, Docs Download : 741 Read : 1106 Download eBook Although power method polynomials based on the standard normal distributions have been used in many different contexts for the past 30 years, it was not until recently that the probability density function (pdf) and cumulative distribution function (cdf) were derived and made available. Focusing on both univariate and multivariate nonnormal data generation, Statistical Simulation: Power Method Polynomials and Other Transformations presents techniques for conducting a Monte Carlo simulation study. It shows how to use power method polynomials for simulating univariate and multivariate nonnormal distributions with specified cumulants and correlation matrices. The book first explores the methodology underlying the power method, before demonstrating this method through examples of standard normal, logistic, and uniform power method pdfs. It also discusses methods for improving the performance of a simulation based on power method polynomials. The book then develops simulation procedures for systems of linear statistical models, intraclass correlation coefficients, and correlated continuous variates and ranks. Numerical examples and results from Monte Carlo simulations illustrate these procedures. The final chapter describes how the g-and-h and generalized lambda distribution (GLD) transformations are special applications of the more general multivariate nonnormal data generation approach. Throughout the text, the author employs Mathematica® in a range of procedures and offers the source code for download online. Written by a longtime researcher of the power method, this book explains how to simulate nonnormal distributions via easy-to-use power method polynomials. By using the methodology and techniques developed in the text, readers can evaluate different transformations in terms of comparing percentiles, measures of central tendency, goodness-of-fit tests, and more.


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Concours d'Elegance
The idea behind this initiative is to celebrate and award the most impressive bicycles present at the event. The competition will be organised by the directors of the Register of 'Heroic Bicycles' (Bici Eroiche) and the international jury will be made up of experts and collectors.
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As you know, most of the top branded smartphones come with a metal body. This material is considered to be one of the most resistant against drops, scratches, and fingerprints. But metal gets hot very quickly and freezes when sufficiently cold. So some top manufacturers pack their flagships with glass or ceramic housing. The original Xiaomi mi MIX was the second phone after the legendary Xiaomi Mi 5 comes with a ceramic housing. We had been waiting for a ceramic housing to appear on the Mi 5S. But the latter lacked it. Though ceramic makes the phones look stylish and provide better signal transmission, it is fragile. However, this doesn't prevent people from stucking at phones with such a body. That's why the Chinese Apple decided to pack its premium flagships with this material as well. That's why the Xiaomi Mi 6 and Xiaomi Mi MIX 2 sport such a housing. This also means we should keep fingers on the pulse because the first photos of broken ceramic handsets will appear one after another. As for now, we have the photos of the broken Xiaomi Mi MIX 2.
The Verge was shooting a video with the top-of-the-line specs of this amazing handset. But accidentally the phone fell down and a small piece from a right upper corner broke down. This is the brightest example how vulnerable a ceramic body is. But such cases don't happen every day. Moreover, if you want to avoid similar situations you can use the protective cover coming in the box.
Other than that, the first-gen Xiaomi Mi MIX has had similar problems as well. But we saw a few cases with a broken screen rather than a broken rear shell. It is more painful because the manufacturer required 1350 Yuan ($196) to repair it. Sometimes even the protection case didn't save the phone. So, when buying a glass or ceramic smartphone, be ready to be more attentive towards your phone.


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McKnight's snags three APEX awards
McKnight's Long-Term Care News received a Grand Award in social media for "McKnight's Daily Editors' Notes," along with two other Awards of Excellence at the 2015 APEX Awards for Publication Excellence program.
The McKnight's editorial staff earned an Award of Excellence for "Magazines, Journals & Tabloids — Print Over 32 pages." Editor James M. Berklan was also recognized for his January and September 2014 "Editor's Desk" columns with an Award of Excellence in Writing Departments & Columns.
Overall, McKnight's has earned 35 national APEX awards. The 27th annual APEX competition determined their winners based on excellence in graphic design, editorial content and the success of the entry in achieving overall communications effectiveness and excellence, contest officials said.


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As our day-to-day lives become progressively smartphone-basic, grocery owners should stay connected with customers round-the-clock by deploying every tech tool to give the complete access to grocery. Grocery shopping mobile app provides an easy and a user friendly system to place orders. With the app users can shop virtually at their convenience, get grocery at their doorstep and can enjoy better shopping experience. No more waiting for parking and to pay the bill, avoid stressed shopping in overcrowded stores, place the order and make payment from anywhere and the store delivers the groceries to the mentioned destination.
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Joined: 21 Apr 2004
Posts: 115
Posted: Thu Oct 14, 2004 1:34 am
Post subject: Is it safe to pay affiliates via free signup?
I'm thinking of starting a small affiliate program and paying a fixed amount for signups/subscribers. Say 50 cents for name and email. Most likely it would be double opt-in where the user will receive an email and
have to click a link etc. to "activate" their account or whatever.
Basically I will have a little affiliate program where people send traffic to my site, and then they go through my little "presentation" which exposes them to multiple clickbank products for which I am an affiliate. I figure this might be a good way to get traffic rather than constanting looking for new places to advertise, etc.
I'm at the point now where I'm trying to decide if I should offer this via a network, or just do it myself. I don't have a problem with the tracking or payments, etc. I'm mostly concerned with fraud.
I don't trust the "sophisticated anti-fraud prevention mechanisms" touted by most of the small networks so I'm thinking of just doing it myself. I figure, how much worse can it be. If I go with a double opt-in model, is it still possible for unscrupulous affiliates to rip me off with bogus signups?
From a technical standpoint I can require the user to click a confirmation link in an email, and I can track IP addresses. Is this enough to curb fraud? Most likely I will only offer this to select sites that I pre-screen, people I know, etc. which should help to because scammers who I assume go looking for these types of programs won't be able to just signup at my site and start getting paid.
Anyone have any input, suggestions, ideas, words of wisdom, etc.?
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Joined: 27 Jun 2004
Posts: 269
Posted: Thu Oct 14, 2004 2:27 am
Post subject:
It could be a good idea. I guess you would have to calculate your effective CPC to figure out your profitability. Of course, you are going to get fraudulent affiliates who take advantage of free sign-ups, since these types of programs are the easiest to circumvent. So you should be prepared for a certain level of fraud. But I think you can curb it with certain measures like the IP address tracking that you mentioned. As long as you actively monitor the situation, it could pay off.
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Joined: 18 May 2004
Posts: 48
Location: On the beach
Posted: Thu Oct 14, 2004 12:54 pm
Post subject:
Paying money for free signups will be a magnet for fraud.. be very careful.. use geo-targeting to restrict to certain countries only, watch out for proxies, be aware that ip's can be forged.. use dynamic image with random code to prevent scripted signups.. you might want to exclude known free email providers also..
Log *everything* and watch your logs obsessively for any suspect activity..
- Datafeed scripts for art.com, clickbank and now
MegaCGI affiliate program is now live - paying 55% using clickbank, link to any page, great conversions!
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Joined: 21 Apr 2004
Posts: 115
Posted: Thu Oct 14, 2004 4:45 pm
Post subject:
Thanks for the info. Does anyone know what the networks do to reduce fraud? Can they do things that I can't, from a technical standpoint, etc. where it would make more sense to just run my offer through a small network? In my limited experience, and just based on logic, they don't seem to care much - and why would they since they are getting their cut on every lead/registration/sale etc. and could care less about fraud.
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Valle de lecrin
Do you have a query about moving to Andalucia and buying property in Andalucia. Find out by posting questions and reading about other peoples experiences.
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Valle de lecrin
Information thumbs up or down,does anyone live here airports, coast, family friendly expat everything that you would have please
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Table of Contents | Message Board | Printable Version
Act V, Scene 4
Posthumus is led into a British prison and left there in chains. Strangely enough, he rejoices in the captivity because death will free him from both physical and spiritual bondage. Although his sorrow and contrition are enough to pardon him in God's eyes, he wishes to give up his life in return for Imogen's. Exhausted, he sleeps and in his sleep, he has a vision.
To the accompaniment of solemn music, the ghosts of Posthumus's father, mother, and his two brothers who have died in battle, enter. They circle round the sleeping Posthumus and appeal to Jupiter to take pity on him. They recount the various unjust events in Posthumus's life, and ask Jupiter why he has allowed these to happen. Jupiter descends in thunder and lightning, seated upon an eagle. The ghosts grow silent as Jupiter tells them that those he loved most, he puts to the test. He then lays on Posthumus' breast a written oracular, foretelling the end of his troubles. Jupiter and the ghosts vanish, and Posthumus awakens from his sleep. He finds a parchment on his chest that contains a riddle that promises when the riddle is solved and complete then Posthumus's miseries will end, and Britain shall flourish in peace and plenty. Posthumus, however, considers it all just a dream and refuses to hope for anything.
Table of Contents | Message Board | Printable Version


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Nicholas Friesen @Nicholastronaut February 8, 2016
Craig Northey isn't in the habit of looking back, but he isn't opposed to it, either. As a founding member of Odds, the Vancouver power pop quartet that began in '87 and took a hiatus from '98-2007, he's released five proper albums (one platinum, two gold) and a collection of EPs. He's also written hits with Steven Page, scored TV (Young Drunk Punk, Hiccups) and movies (Brain Candy, Dog Park), and put out a pair of records as Stripper's Union with the Hip's Rob Baker and Simon Kendall from Doug & the Slugs. But it's the Odds, fleshed out by drummer Pat Steward, bassist Doug Elliott and new-ish guitarist Murray Atkinson, that keeps that good weird feeling alive.
"Everything with us starts with a joke," Northey says of the band's reunion, over the phone from his home in BC. "We have an idea for something we're gonna do and we laugh about it and go one step further until it's absurd. When we stopped playing together, the four of us, in '98 or so, the three of us (Steward and Elliott) kept going and working on projects that were sort of horizontally related."
Whether it was film scores or another band (be it Sharkskin or the Craig Northey Power Trio) the gang (minus Steven Drake, who now makes his way as a recording engineer) was always working on something, and occasionally throwing an old Odds tune into the mix. When the trio started putting new material together at a "Wednesday night music club," some famous friends caught wind.
"The Barenaked Ladies had this concept where they wanted to do this cruise thing and invite their chums and have a floating music festival of their curation. We got invited because they heard we were writing again."
To do the Odds songs justice, a second guitarist was required. Enter Murray Atkinson, scorer of video games and associate of such acts as Christa Couture, Ridley Bent, Chin Injecti and Hot Action Cop.
"A lot of (Odds' material) relies on the counterpoint interplay between the guitar parts and creating one large mass out of two things. As soon as you meet Murray though, you know he was born to be in this band."
When the band returned, it was New Odds, and the record was 2008's Cheerleader, a festival of 14 re-energized pop killers (including Corner Gas credit closer "My Happy Place"). "The name thing was just working out politics over time, but it started with a joke – the New Originals from Spinal Tap. We did that on the cruise as a gag. Barenaked Ladies asked (for a name), they printed it, and so we stuck with it for a while. Then we realized nobody got the joke."
Following up Cheerleader has been a collection of EPs, 2009's Noise Trade and the 2013-14 trilogy of The Most Beautiful Place on Earth, Game Face On and Party Party Party.
"We just started recording again after Cheerleader, and eventually we had a double album which we thought we'd do as a gatefold. We really are fond of this new age of people making vinyl albums and selling them from the stage, because that seems like where we started. But we've got managers around us that help us make decisions, and they said 'in this day and age, instead of giving away 19 songs, it's more about breaking up the content.' So we acquiesced and broke it up into EPs. Really it is an album that we'll cull down and put out some vinyl sometime, it had a title and everything, but this gives us a chance to pick out some cool artwork and do it three times and have some fun."
A longtime collaborator of Kids in the Hall, Northey notes his relationship with the comedy legends is as strong as ever, having recently worked with Bruce McCulloch to score his sitcom, Young Drunk Punk. Sharing a credit with composer Jim McGraw, Northey helps revisit a Calgary of the '80s through McCulloch's unique lens.
"It's such a miracle that show, really," he says. "To do a period show for not a lot of dough is crazy. Try to conjure all those elements again in Calgary, in a town that changes so quickly like that, it's hard to even find that stuff. It's really cool what's happened and I'm hoping it comes back (for a second season)."
Going back to the old days, I remind Northey that Nest, the band's last before its break (and final with Drake) celebrates its 20th anniversary in 2016. He notes that he really only goes back to the old stuff to teach it to Atkinson, but that he really can't escape such hits as "Heterosexual Man" and "Eat My Brain," still staples of CanRock radio today.
"I think you can divorce yourself from the context a little bit when you go so many years down the road and you change as a person," Northey says. "I also think at this point in the game there's a significant anniversary on any given day. It's 25 years since you did something, so you don't think about it happening to you at some point. We did have one kind of anniversary tour but then it just seemed a little jumpy after that. It is what it is, we're not the Stones."
Nest is an important disc though, at least for this writer, as it was one of the first "alternative" records I purchased after switching over from classic rock cassettes at age 13. Perplexed by the odd artwork and wondering what kind of producer was simply named "Nigel the Cat," I mostly dug the videos, especially for the infectious lead single, "Someone Who's Cool," which was the band's first Canadian #1.
"'Someone Who's Cool' was written for the (aborted) Friends 2 soundtrack. The first one was such a big album, they asked us to write something that somehow related to the show. I wrote that and brought it to the guys and everyone did their traditional tweaks to it. And then at Elektra Records, Sylvia Rhone said, 'No, don't give it to that soundtrack, that's a hit, you're going to put that on your own record, so get working on that record, we're keeping it.'
"We had gone out and played it in quite a few places, and no one had ever heard the song before, and the reaction was great. We at least had one in the bag, so we started with that idea when we went in, which was kind of exciting to already have something that you knew was pretty good, but had already caused a big problem."
Northey notes that he didn't write the song about a particular Friend, as he had never actually seen the show.
"I knew what Friends was, it was a cultural phenomenon, but I didn't really know what it was about. When I finally watched an episode I thought, 'Oh, it's about people being uncomfortable with themselves and not being in control of their impulses,' so I just went with that basic theme."
The video, directed by Curtis Wehrfritz, wound up in heavy rotation on Much Music, it features Odds in a series of stop motion and split frame edits, a process that took hours to execute.
"It was really gruelling and hard work but it was pretty cool," Northey says. "I would by lying on the bed and they would be changing the walls for one shot that lasted a second. It was crazy!"
Knowing they had a hit in "Cool," Northey set to work writing a few more in that vein. When it came time to hit the studio, not everyone was as ready as he was.
"When we did Nest, there was a concerted effort, maybe even a statement, that we just relax and make music that makes people happy and that we want to listen to," he says. "I don't think Steven was as prepared to make it as we wanted him to be. He didn't have any lyrics or any songs ready for the time we wanted to start. I am a traditional homework guy, I'm on it all the time, in terms of Type A, so I had a bunch of material. When we went in, he had all kinds of cool things that were important but weren't formed as whole songs, so we went in that way with a bunch of things that were formed and not formed. It was difficult but fun, because there were those open perimeters. By the time it was done, we were exhausted."
It wasn't just Nest that was a tough birth, though.
"I think all records are difficult," he says. "We did a couple (DIY) albums before we did Neopolitan, which is really our first album. They were cassette-only releases that we sold from the stage. You spend all this time together as a band writing as much as you can, building a culture within your band, traveling and coming up with schemes about how to get recognized. So we did all that stuff and jumped through all those label hoops and finally had an album out, and that one is a long time in the making, and it's always a little bit weird and a little self conscious."
Northey mentions that the second record is the hardest to make, as you're often out on the road promoting the first one, all while losing touch with people in your life and living out of pocket.
"The one that kind of 'broke us' was the third one, Good Weird Feeling. There's the perfect storm of possibilities where we made an album where there was some accessible music on it, but we weren't necessarily the type of band that was happening at that time."
Tours with the Tragically Hip and Barenaked Ladies helped, but going up against Bush and the Spice Girls meant that Odds still weren't what was "cool" on radio in the mid-90s. Northey doesn't mention exactly what happened, but he left the band, which then called it a day in '98.
"In the old days, at the time of Nest, it was fighting for time to be away from each other," he says. "Whenever we have an Odds gig now, I always get excited a few days before. It's such a privilege to have been doing what I'm doing for so long and to be doing it with the people I'm doing it with. Who needs Thanksgiving, I feel this way all the time."
Visit oddsmusic.com for more information.


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Created on 07-04-2015 at 14:55 PM
Pep Guardiola's Easter holiday brought a win at Dortmund and seasonal chocolates on Sunday, so when he addressed the press conference on the eve of Bayern's DFB Cup quarter-final trip to Bayer 04 Leverkusen on Wednesday (kick-off 20:30 CET, live on ARD and Sky in Germany), even the usually reserved Spaniard was in a light-hearted mood. What would be his game plan, reporters asked? "Maybe I'll field eight defenders tomorrow," quipped the FCB coach. Why is Robert Lewandowski in such great form? "He has a great coach," Guardiola grinned.
The Easter weekend with his family clearly did the boss a lot of good, despite an ever-growing and big-name injury list at the club. Franck Ribéry, Arjen Robben, David Alaba, Tom Starke and Javi Martínez were already ruled out of the cup clash, and Bastian Schweinsteiger (ankle) was declared a non-starter on Tuesday. "He won't play, definitely not," Guardiola announced.
"But I'm happy," the Catalan insisted, refusing to let his head drop in the teeth of the tricky selection situation: "There can be no excuses! It doesn't matter. It motivates me to find solutions." The loss of gifted wide men Ribéry and Robben has a disproportionate impact: "We have to change the way we play, at least a little." However, the fundamental philosophy of dominating possession and scoring goals remains unchanged.
'Huge challenge' awaits
Guardiola noted that his team were nowhere near as dominant as usual in the second half away to Dortmund last Saturday. "I've had words with my team," he revealed, "if we play like we did in the second half in Dortmund, we won't stand a chance. We have to try and dominate. It won't be easy because Leverkusen play a good, aggressive pressing game."
The Bayern boss was full of praise for Wednesday's opponents, who are on a roll after winning five Bundesliga fixtures on the bounce with 13 goals scored and none conceded: "I'm a bid admirer of this team and their coach, and the match presents a huge challenge." Bayer warmed up for the Bayern clash with a 4-0 thrashing of Hamburg at the weekend, coach Roger Schmidt even enjoying the luxury of resting regulars Emir Spahic and Hakan Calhanoglu. However, the Werkself (Works XI) are without suspended striker Heung-Min Son on Wednesday, as the Korean striker was sent off in the second round.
Guardiola has taken all this on board but remains confident. "At this stage of the season it's about cool heads, big hearts and passion," he declared, pointing out that his players had always shown exactly these qualities despite an almost nonstop diet of success in recent years. "They always run and fight! They're always up for it! We always put our hearts into it! I'm very, very proud of my team," the boss stated. And he also passed on at least one piece of good news, with Holger Badstuber back in contention after a sprain.
Pre-match news from Leverkusen:
- Unavailable: Heung-Min Son (suspended), Robbie Kruse (ankle surgery)
- Coach Roger Schmidt: "We're in good shape. A lot of my players are in peak form at the moment. If you're going to lay hands on a trophy, you've got to beat Bayern at some point, although it's obviously a labour of Hercules. We'll have to deploy our attacking weapons very well indeed and defend courageously."
- Sporting director Rudi Völler: "You have a better chance of beating FC Bayern at home than away or in the final. However, Bayern are a different calibre compared to Hamburg. We'll need a sensational performance. All 11 to 14 players will have to go to the limit and beyond, and then we'll have a small chance."


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Marist High School's boys soccer program will face Br. Rice on Sunday, September 10, at 7pm at Br. Rice.
While both teams look forward to competing for the Pulaski Cup, players and coaches are focused on honoring fallen first responders on the eve of the 16th anniversary of the attacks on 9-11, in which more than 3,000 victims died.
The teams will start the day by attending mass together at St. Christina Church, 3342 W. 111th Street in Chicago, at 11:30am. All are welcome to join them in prayer. At the game, all military and first responders in attendance will be honored. All cheerleaders and players will wear a black arm band in honor of first responders who died in the line of duty. Other plans are in the works to make the game a special event that is both dignified and fun.
"This is a great way for our team to give back to the members of the community to do so much for all of us," explained Marist's head coach Sean Maxwell. "It also reminds our students that as great as competing is, community holds even more importance."
Br. Rice is located at 10001 South Pulaski in Chicago.


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Step 1: Prepare
In this section, you do the following:
Sign up for an AWS account and set up the AWS CLI.
Create two buckets (
bucket) with a sample .jpg object (
HappyFace.jpg) in the source bucket. For instructions, see the following procedure.
Step 1.1: Sign Up for AWS and Set Up the AWS CLI
Make sure you have completed the following steps:
Signed up for an AWS account and created an administrator user in the account (called adminuser). For instructions, see Set Up an AWS Account.
Installed and set up the AWS CLI. For instructions, see Set Up the AWS Command Line Interface (AWS CLI).
Step 1.2: Create Buckets and Upload a Sample Object
Follow the steps to create buckets and upload an object.
Both the source bucket and your Lambda function must be in the same AWS region.
In addition, the example code used for the Lambda function also assumes that
both of the
buckets are in the same region. In this tutorial, we use the
Using the IAM User Sign-In URL, sign in to the Amazon S3 console as adminuser.
Create two buckets. The target bucket name must be
sourcefollowed by
resized, where
sourceis the name of the bucket you want to use for the source. For example,
For instructions, see Create a Bucket in the Amazon Simple Storage Service Getting Started Guide.
In the source bucket, upload a .jpg object,
When you invoke the Lambda function manually before you connect to Amazon S3, you pass sample event data to the function that specifies the source bucket and
HappyFace.jpgas the newly created object so you need to create this sample object first.
Next Step
Step 2: Create a Lambda Function and Invoke It Manually (Using Sample Event Data)


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IIeX Wrap-Up standard
The Insights and Innovation Exchange is my favorite conference each year, and not just because it's held here in Atlanta. The two and a half days that we gather down at GA Tech are jam packed with presentations, technology, conversations, etc. It's a whirlwind that leaves most attendees both exhausted and invigorated. Here are a few themes based on what I heard and saw, but remember no one person can possibly experience everything so this is just a quick glimpse. Technology Solutions = Exponential Growth It's been two years since I attended IIeX last, and what strikes me each time is the number of new and niche technology solutions available. Want to do ethnographies via cell phone? There's a company for that. ...Continue Reading


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Price range, per nightmin R max R
Kyalami, O.R. Tambo Airport, Melrose, Braamfontein, Midrand, Auckland Park, Rosebank JHB, Sandton, Honeydew, Gold Reef City, Linden, Sunninghill, Johannesburg (Joburg), Bryanston, Dinokeng, Houghton, Melville, Northcliff - Johannesburg, Fourways, Lanseria
Northgate Dome, Bensusan Photographic Museum, SAB World of Beer, Johannesburg Zoo, Satyagraha House, Liliesleaf Farm, Hillbrow Tower, Enoch Sontonga Memorial Park, Montecasino, Moyo Restaurants, Newtown Cultural Precinct, Nelson Mandela Square, Sandton City, Johannesburg Art Gallery and Sculpture Park, Brenthurst Gardens, Nelson Mandela Bridge, Constitution Hill, Radium Beer Hall, Oriental Plaza, ABSA Art Gallery, The Bag Factory, Standard Bank Gallery, MuseuMAfricA
Gracious stately and exclusive, Sandhurst is Johannesburg's pinnacle suburb. Situated on the north-western slopes of the city, Sandhurst offers magnificent views past Bryanston towards the Magaliesberg.
Sandhurst's leafy tree-lined streets and sedate atmosphere is further enhanced by remarkable security measures and a prime location. Enormous properties, with grounds reminiscent of English show gardens, combine refined elegance, a country-like lifestyle and the convenience of being within minutes from the Sandton central business district makes for Sandhurst to be a sought-after suburb by the elite. Luxuriate in creature comforts and enjoy total peace of mind when staying at grand private guest houses, sophisticated hotel, marvellous bed and breakfasts as well as stunning self-catering executive apartments.
Shop till you drop at the fabulous Manhattan-style Sandton City's selective boutiques, enjoy fine dining at the myriad of restaurants and relax in the trendy bars. Explore the art galleries and splendid craft markets or partake in a walking tour which covers various Sandton landmarks. Soak up the lively buzz surrounding the Nelson Mandela Square or venture to the nearby casinos and thrilling Gold Reef City Theme Park. Enjoy a game of golf at the excellent courses, visit the raptor centre at the Inanda Club and spend a day at the Lion Park, or take in a match at the nearby Wanderers Cricket Club.
Sandhurst is the perfect up-scale community for relaxing in blissful surroundings while watching the flickering lights of the city in the distance; Sandhurst is truly an exceptional location for an unforgettable stay.
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